4th International Forum: Chinese Contemporary Art and the World - “Between Authenticity and Deception”

The University of Chicago Center in Beijing

School of Arts, Peking University

The 4th International Forum “Chinese Contemporary Art and the World”, jointly organized by the University of Chicago Center in Beijing and the School of Arts at Peking University, was successfully held on March 13–14, 2026. Centered on the theme “Between Authenticity and Deception,” the forum brought together scholars, artists, and curators from leading institutions around the world to explore the complex relationship between authenticity, forgery, and artistic production in contemporary art.

The forum opened on the afternoon of March 13 at the University of Chicago Center in Beijing. The event attracted an audience of over 100 participants, including academics, students, artists, and members of the public, demonstrating strong interest in the topic. Following registration, the opening remarks were delivered by Dr. Ge Zening, Executive Director of the University of Chicago Center in Beijing, who welcomed participants and set the stage for an engaging interdisciplinary dialogue.

The keynote address was delivered by renowned artist Song Dong, titled “The Counterfeit of the Original.” Drawing on his artistic practice, Song reflected on the paradoxical relationship between originality and imitation, challenging conventional assumptions about authenticity in art. His talk was followed by a curator’s lecture by Cila Brosius, founder of Bridge Contemporary, who examined transcultural reinterpretations of Nordic artworks within both Chinese and European exhibition contexts. The evening concluded with an exhibition introduction by Tongji Philip Qian and an exhibition opening and reception, providing participants with an opportunity to further engage with the theme through artistic practice.

On March 14, the forum continued at Peking University’s School of Arts with a full day of academic panels and discussions. The program featured keynote speaker Professor Elisabeth Schellekens from Uppsala University, along with a diverse range of presentations addressing authenticity and deception from philosophical, historical, technological, and political perspectives.

Panels were organized into thematic streams such as “Copies and Forgeries,” “Artistic Personas and the Authenticity of Style,” and “Modes of Authenticity,” as well as sessions focusing on “Authenticity and Technology,” “Art and AI,” and “Museums, Archives, and Historiography.” Presenters examined topics including the politics of perception, the construction of artistic identity, AI-generated imagery and music, and the shifting boundaries between the real and the simulated in contemporary culture.

The forum highlighted how authenticity and deception are not simply opposites, but mutually constitutive forces that shape artistic value, cultural meaning, and institutional practices. Discussions also underscored the growing relevance of these issues in the age of artificial intelligence and digital reproduction.

The event concluded with closing remarks by the academic committee, who emphasized the importance of continued interdisciplinary dialogue in understanding the evolving dynamics of contemporary art in a global context.

Overall, the forum provided a vibrant platform for critical exchange and offered new insights into the conceptual and practical challenges surrounding authenticity in contemporary art today.